The Opera organizes its grand event of integrated arts entitled Faust Ball on 14 February 2015. Similar to the first ball in 2014 entitled Silver Rose Ball, its main mission is a charitable cause: the guests contribute to the purchase of an ambulance for the Hungarian National Emergency Ambulance Service. Special guest of the ball is international superstar soprano Angela Gheorghiu.

At the end of January, between two regular concerts, the Budapest Philharmonic Orchestra gives another one in memory of the victims of the holocaust. The winter concert series feature renowned conductors as well as young, award-winning soloists.

As the first premiere in 2015, the Hungarian State Opera produces The Rake’s Progress by Igor Stravinsky. So far it has only been featured in the repertoire of the Opera only once – it was put on stage 35 years ago. In the production by director Ferenc Anger two international guest artists make their Hungarian debut on 18 January 2015.

It has been exactly 130 years since the Budapest Opera opened its gates on 27 September, 1884. The Hungarian State Opera commemorates the anniversary of the opening with crowds in period costumes, an extraordinary gala concert, the premier of a film, and the publication of a historical book.

Following last year’s MozartLateNight, this is the turn of two French composers to shake things up as their one-act operas take us to the exotic world of the Orient. Bizet’s Djamileh is a steamy tale, set on the banks of the Nile, about a slave woman who falls in love with her captor, while Saint-Saëns’s La Princesse Jaune (The Yellow Princess) is one about a Dutchman’s delirious vision of a Japanese phantasm. Strictly for over 18s only!

Events

'The riddles are three, but death is one... Ice that sets you aflame, but grows colder from the fire. White and dark. If she sets you free, you'll become her slave. If she takes you as her slave, you'll become a king. Come here, stranger, you who are pale with terror. What is this ice that makes you burn?'
Turandot: Carlo Gozzi's stage play about the beautiful but cold-blooded Chinese princess and her riddles has inspired countless artists over the years, none more so than Giacomo Puccini, who used it as the basis for his final and perhaps most marvellous opera, although his death left it incomplete. At the world premiere, after the moment Liů stabs herself to avoid revealing Calaf's name, conductor Arturo Toscanini gestured for the orchestra to pause and turned to face the audience. 'This,' he told them, 'is where the Maestro put down his pen.'
Balázs Kovalik's spectacular production shows the work in its full glory.

The mandarins announce the emperor's decree in the streets of Peking: he who solves Princess Turandot's riddles will win her hand. The crowd is ecstatically waiting for the execution of the Persian prince who has failed the latest trial - and then, feeling sympathy, beg for his life. But Turandot refuses to show mercy.

In spite of this heartless cruelty a new suitor appears: the Tartar prince in exile, Calàf. He will not listen to anyone, he always goes his own way, and now challenges his fate: he enters the palace.

The responsibilities of office and the chore of balancing various interests and requirements have already exhausted the three ministers, who are dreaming of a peaceful civilian way of life.

Turandot presents three riddles to the brave candidate. Calàf replies to the first two correctly. Then Turandot presents the third riddle:

'Ice which gives you fire

and which your fire

freezes still more!

Lily-white and dark,

if it allows you your freedom

it makes you a slave;

if it accepts you as a slave

it makes you a King!'

Calàf's reply is correct: 'Turandot'.

But the way to find the other one can only be right if it departs from the beaten track. The smallest of deceits, self-delusion or dishonesty leads us on a wild goose chase. Thus, Calàf is dissatisfied with his rapid success, and now it is his turn to ask a question from Turandot: 'Tell me my name - Who am I?'

All Peking is trying to discover the stranger's name, when the slave girl Liù appears, who refuses to reveal her master's name in spite of torture. Her determination is fuelled by love, and this hopeless emotion drives her to suicide. Liù's death creates a situation where there is no place for pretence - the mask should fall, and the actor must reveal himself. Before resurrection one must be destroyed so that we can be born again like a phoenix from the ashes. It could even be called love.